King Saul
King of Israel
David Plays the Harp for Saul, by Rembrandt van Rijn, c. 1658.
Reign	c.1049 BC to 1007 BC (42 years)
Coronation	at Gilgal
Born	1079 BC
Birthplace	possibly Gibeah
Died	c.1007 BC (aged 72)
Place of death	Battle of Mount Gilboa
Successor	David (Judah), Ish-bosheth (Israel)
Consort	Ahinoam, daughter of Ahimaaz
Father	Kish according to the Tanakh of the family of the Matrites, and a member of the tribe of Benjamin, one of the tribes of Israel.

Saul (Hebrew: שָׁאוּל, Šāʼûl ; "asked for, prayed for"; Arabic: طالوت‎, Ṭālūt; Greek: Σαούλ Saoul; Latin: Saul) (circa 1079 BC – 1007 BC) was the first king of the united Kingdom of Israel. He was anointed by the prophet Samuel and reigned from Gibeah. He fell on his sword to avoid capture in the battle against the Philistines at Mount Gilboa, during which three of his sons were also killed. The succession to his throne was contested by Ish-bosheth, his only surviving son, and his son-in-law David, who eventually prevailed. The main account of Saul's life and reign is found in the Books of Samuel.

The Biblical account[link]

House of King Saul[link]

According to the Tanakh, Saul was the son of Kish, of the family of the Matrites, and a member of the tribe of Benjamin, one of the twelve Tribes of Israel. (1 Samuel 9:1-2; 10:21; 14:51; Acts 13:21) It appears that he came from Gibeah.

David and Saul (1885) by Julius Kronberg.

Saul married Ahinoam, daughter of Ahimaaz. They had four sons and two daughters. The sons were Jonathan, Abinadab, Malchishua and Ish-bosheth. Their daughters were named Merab and Michal.^[1]

Saul also had a concubine named Rizpah, daughter of Aiah, who bore him two sons, Armoni and Mephibosheth. (2 Samuel 21:8)

Saul offered Merab to David as a wife after his victory over Goliath, but David does not seem to have been interested in the arrangement. (1 Samuel 18:17-19) Saul then gave his other daughter Michal in marriage to David, (1 Samuel 18:20-27) but when David became Saul's rival to the kingship, Saul gave Michal in marriage to Palti, son of Laish. (1 Samuel 25:44)

Saul died at the Battle of Mount Gilboa (1 Samuel 31:3-6; 1 Chronicles 10:3-6), and was buried in Zelah, in the region of Benjamin in modern-day Israel. (2 Samuel 21:14) When Saul first became king, he followed Samuel's bidding. Eventually, as Saul disobeyed God, God told Samuel to anoint a new king.

Ish-bosheth[link]

Three of Saul's sons – Jonathan, and Abinadab, and Malchishua – died with him at Mount Gilboa (1 Samuel 31:2; 1 Chronicles 10:2). Ish-bosheth became king of Israel, at the age of forty. (2 Samuel 2:10) Michal was returned as wife to David.

Ish-bosheth reigned for two years and was killed by two of his own captains. (2 Samuel 4:5) The only male descendant of Saul to survive was Mephibosheth, Jonathan's son, (2 Samuel 4:4) who had been five when his father and grandfather Saul had died in battle. In time, he came under the protection of David. (2 Samuel 9:7-13) Mephibosheth had a young son, Micah, (2 Samuel 9:12) of whom nothing more is heard.

Armoni and Mephibosheth (Saul's sons with his concubine, Rizpah) were given by David along with the five sons of Merab (Saul's daughter)^[2] to the Gibeonites, who killed them. (2 Samuel 21:8-9) Michal was childless. (2 Samuel 6:23)

Anointed as king[link]

"Death of King Saul", 1848 by Elie Marcuse (Germany and France, 1817-1902)

Samuel, the Judge, had sons who were dishonest and not trustworthy of the faith. The leaders of the Israelites feared that it would be disastrous if his sons were to be judge over them and requested that Samuel give them a king. God warned that if he appointed a king over them, they would suffer from the dealings of the king. Saul, a young Israelite, was commanded by his father, Kish, to go and locate their lost donkeys. Saul obeyed and Samuel saw him walking toward him. God revealed to Samuel that Saul would be the one anointed as the "first" King of Israel. Peter J. Leithart observes:

Saul, the first king, begins as an ideal choice to lead and judge Israel ..... Saul cares for his father's animals (as did Joseph and Moses, and as David will), and he is a dutiful son ..... Saul is a handsome man and a head taller than any Israelite (1 Samuel 9:2)^[3]

In the Books of Samuel, Saul is not referred to as a king (melech), but rather as a “leader” or “commander” (nagid) (1 Samuel 9:16; 1 Samuel 10:1).^[4] However (possibly representing an opposing literary strain^{[citation needed]}), Saul is said to be made a "king" (melech) at Gilgal (1 Samuel 11:15). Even David, before he was anointed king, was referred to only as a future nagid, or military commander (1 Samuel 13:14).

The Israelite people generally used the term “king,” because their desire, 1 Samuel recounts, was to be like the other nations (1 Samuel 8:5; 10:19). This may be indicative of the tension between what a certain faction of the people wanted, and a definite reluctance of certain leaders (e.g., the prophet Samuel) to break with the old tribal order. But Saul was finally crowned as "king" (melech) in Gilgal. (1 Samuel 11:14-12:2)

The Books of Samuel give three events in Saul's rise to the throne:

• (1 Samuel 9:1-10:16) Saul was sent with a servant to look for his father's donkeys, who had strayed; leaving his home at Gibeah, they eventually wandered to the district of Zuph, at which point Saul suggested abandoning their search. Saul's servant however, remarked that they happened to be near the town of Ramah, where a famous seer was located, and suggested that they should consult him first. The seer (later identified by the text as Samuel), having previously had a vision instructing him to do so, offered hospitality to Saul when he entered Ramah, and later anointed him in private.

• (1 Samuel 10:17-24 and 12:1-5) Reflecting a desire to be like other nations, there was a popular movement to establish a centralised monarchy. Samuel therefore assembled the people at Mizpah in Benjamin, and despite having strong reservations, which he made no attempt to hide, allowed the appointment of a king. Samuel used cleromancy to determine who it was that God desired to be the king, whittling the assembly down into ever smaller groups until Saul was finally identified. Saul, hiding among the baggage^[5], was then publicly affirmed.

• (1 Samuel 11:1-11 and 11:15) The Ammonites, led by Nahash, laid siege to Jabesh-Gilead, which was forced to surrender. Under the terms of surrender, the occupants of the city would be forced into slavery, and have their right eyes removed as a sign of this. The city's occupants sent out word of this to the other tribes of Israel, and the tribes west of the Jordan assembled an army under the leadership of Saul. Saul led the army to victory against the Ammonites, and, in gratitude and appreciation of his military skill, the people congregated at Gilgal, and acclaimed Saul as king.

Rejection[link]

Saul and the Witch of Endor by Gustave Dore.

According to 1 Samuel 10:8, Samuel had told Saul to wait for seven days after which they would meet; Samuel giving Saul further instructions. But as Samuel did not arrive after 7 days (1 Samuel 13:8) and with the Israelites growing restless, Saul started preparing for battle by offering sacrifices. Samuel arrived just as Saul finished offering his sacrifices and reprimanded Saul for not obeying his instructions. As a result of not keeping God's instructions, and for taking the duties of a Levite priest into his own hands, God took away Saul's kingship (1 Samuel 13:14). After the battle with the Philistines was over, the text describes Samuel as having instructed Saul to kill all the Amalekites, which was in accordance with the mitzvah to do so. Having forewarned the Kenites who were living among the Amalekites to leave, Saul went to war and defeated the Amalekites. Saul killed all the babies, women, children, poor quality livestock and men, and left alive the king and best livestock.

When Samuel found out that Saul had not killed them all, he became angry and launched into a long and bitter diatribe about how God regretted making Saul king, because Saul was disobedient. When Samuel turned away, Saul grabbed Samuel by his clothes and tore a small piece off them, which Samuel states is a prophecy about what will happen to Saul's kingdom. Samuel then commands that the Amalekite king (who, like all other Amalekite kings in the Hebrew Bible, is named Agag) should be brought forth. Samuel proceeds to kill the Amalekite himself and makes a final departure.

Saul and David[link]

It is at this point that David, a son of Jesse, from the tribe of Judah, enters the story:

• (1 Samuel 16:1-13) Samuel is surreptitiously sent by God to Jesse. While offering a sacrifice in the vicinity, Samuel includes Jesse among the invited guests. Dining together, Jesse's sons are brought one by one to Samuel, each time being rejected by him, speaking for God; running out of sons, Jesse sends for David, the youngest, who was tending sheep. When brought to Samuel, David is anointed by him in front of his other brothers.

• (1 Samuel 16:14-23) Saul is troubled by an evil spirit sent by God (some translations euphemistically just describe God not preventing an evil spirit from troubling Saul^{[citation needed]}). Saul requests soothing music, and a servant recommends David the son of Jesse, who is renowned as a skillful harpist and soldier. When word of Saul's needs reach Jesse, he sends David, who had been looking after a flock, and David is appointed as Saul's armor bearer. David remains at court playing the harp as needed by Saul to calm his moods.

• (1 Samuel 17:1-18:5) The Philistines return with an army to attack Israel, but, having amassed on a hillside opposite to the Israelite forces, suggest that to save effort and lives on both sides, it would be better to have a proxy combat between their champion, a Rephaim from Gath named Goliath, and someone of Saul's choosing. David, a young shepherd boy, happens to be delivering food to his three eldest brothers, who are in the Israelite army, at the time that the challenge is made. David, who is faithful of God's power to defeat his enemies, talks to the nearby soldiers mocking the Philistines, but is reprimanded by his brothers for doing so. David's speech is overheard and reported to Saul, who summons David and on hearing David's views decides to fit him out with his (Saul's) own armour. Saul then appoints David as his champion, and David defeats Goliath with a single shot from a sling, which hits him in between the eyes. Goliath falls forward and David decapitates him with his own sword.

Saul's love of glory[link]

"Saul Throws Spear at David" by George Tinworth

In the text, Saul's son Jonathan becomes David's dearest friend. Eventually, David becomes Jonathan's brother-in-law by Michal. Jonathan recognises David as the rightful king, and 1 Samuel 18 states "Jonathan made a covenant with David, because he loved him as his own soul."^[6] Jonathan even gives David his military clothes, symbolizing David's position as successor to Saul.

God makes David successful wherever Saul sends him. Therefore Saul sets David in charge of the army. After David returns from battle, the women heap praise upon him and refer to him as a greater military hero than Saul...who becomes jealous, fearing David as a rival to the throne.

Another day, while David is playing the harp, Saul - possessed by an evil spirit - throws a spear at him but misses on two occasions. Saul removes David from the court and appoints him an officer, but David becomes increasingly successful...which makes Saul even more resentful of him. In return for being his champion, Saul offers his daughter Merob to David as a wife. But David is too humble to accept, so Merob is married to a different man. When Saul's other daughter Michal falls in love with David, Saul repeats the offer. Again David turns it down, claiming he lacks the wealth of a suitable husband. Saul persuades David that the bride price would only be 100 foreskins from the Philistines; he secretly hopes that David will be slain trying to achieve this. Instead, David obtains 200 foreskins and is consequently married to Michal.

The narrative continues as Saul plots against David, but Jonathan dissuades Saul from this course of action; he also tells David of it. Saul tries to have David killed during the night, but Michal helps him escape and tricks his pursuers by using a household idol to make it seem that David is still in bed. David flees to Jonathan, who wasn't living near Saul. Jonathan returns to Saul, hoping to discover his father's ultimate intent. While dining with Saul, Jonathan pretends that David has been called away to his brothers. But Saul sees through the ruse and castigates Jonathan for being David's protector; clearly, Saul wants David slain. The next day, Jonathan meets with David and tells him Saul's intent. The two friends say their goodbyes, and David flees into the countryside. Saul later marries Michal to another man.

Saul is later informed by his head shepherd, an Edomite named Doeg, that Ahimelech assisted David. A henchman is sought to kill Ahimelech and the other priests of Nob. None of Saul's henchmen are willing to do this, so Doeg offers to do it instead...killing 85 priests. Saul also kills every man, woman and child living in Nob.

David had already left Nob by this point and had amassed about 400 disaffected men including a group of outlaws. With these men David launches an attack on the Philistines at Keilah. Saul realises he could trap David and his men by laying the city to siege. Yet David hears about this and, having received divine counsel (via the Ephod), finds that the citizens of Keilah would betray him to Saul. He flees to Ziph. Saul discovers this and pursues David on two occasions:

• Some of the inhabitants of Ziph betray David's location to Saul, but David hears about it and flees with his men to Maon. Saul follows David, but while Saul travels along one side of the gorge, David travels along the other, and Saul is forced to break off pursuit when the Philistines invade. This is supposedly how the place became known as the gorge of divisions. David hides in the caves at Engedi and after fighting the Philistines, Saul returns to Engedi to attack him. Saul eventually enters the cave in which David had been hiding, but as David is in the darkest recesses Saul doesn't spot him. David cuts off a piece of Saul's robe; yet David restrains himself and his associates from going further, due to a taboo against killing an anointed king...and also due to the risk of rationalizing Saul's jealousy and paranoia. David then leaves the cave, revealing himself to Saul, and gives a speech that persuades Saul to reconcile.

• On the second occasion, Saul returns to Ziph with his men. When David hears of this he sneaks into Saul's camp by night, and thrusts his spear into the ground near where Saul is sleeping. David prevents his associates from killing Saul, because doing so would prove the former no more worthy than the latter; Instead, David merely steals Saul's spear and water jug. The next day, David stands atop a slope opposite Saul's camp; he shows the jug and spear as proof that he could have slain Saul but did not. David then persuades Saul to reconcile with him; the two swear never to harm one another.

Saul is among the prophets[link]

The phrase Saul is among the prophets, is mentioned by the text in a way that suggests it was a proverb in later Israelite culture. Two accounts of its origin are given:

• (1 Samuel 10:11 etc.) Having been anointed by Samuel, Saul is told of signs he will receive to know that he has been divinely appointed. The last of these signs is that Saul will be met by an ecstatic group of prophets leaving a high place and playing music on lyre, tambourine, and flutes. The signs come true (though the text skips the first two, suggesting that a portion of the text has been lost, or edited out for some reason), and Saul joins the ecstatic prophets, hence the phrase.

• (1 Samuel 19:24 etc.) Saul sends men to pursue David, but when they meet a group of ecstatic prophets playing music on lyre, tambourine, and flute, they become possessed by a prophetic state and join in. Saul sends more men, but they too join the prophets. Eventually Saul himself goes, and also joins the prophets, hence the phrase.

Battle of Gilboa and the death of King Saul[link]

The Battle of Gilboa, by Jean Fouquet, the protagonists depicted anachronistically with 15th Century armour

Despite the oath(s) of reconciliation, David felt insecure, and so made an alliance with the Philistines, becoming their vassal. Emboldened by this, the Philistines prepared to attack Israel, and Saul led out his army to face them at Mount Gilboa, but before the battle decided to consult the witch of Endor for advice. The witch, unaware of who he was, reminded Saul that the king (i.e. Saul himself) had made witchery a capital offence, but after being assured that Saul wouldn't harm her, the witch conjures up the spirit of Samuel. Upon seeing the spirit of Samuel Saul fell with his face to the ground and Samuel asked Saul "Why have you disquieted me, to bring me up?" Saul told Samuel's spirit of the forthcoming battle with Philistine and that God will not answer him anymore when he prays, and asks for understanding. Samuel then told Saul that he will lose the battle and his life. Broken in spirit, Saul returned to face the enemy, and the Israelites were duly defeated. To escape the ignominy of capture, Saul asked his armour bearer to kill him, but was forced to commit suicide by falling on his sword when the armour bearer refuses. An Amalekite then claimed to have killed Saul, and the Amalekite told David. Infuriated, David ordered the Amalekite to be put to death as punishment for killing God's anointed, despite Saul's earlier assassination attempt upon David. The body of Saul, with those of his sons, was fastened to the wall of Beth-shan, and his armor was hung up in the house of Ashtaroth (an Ascalonian temple of the Canaanites). The inhabitants of Jabesh-gilead (the scene of Saul's first victory) rescued the bodies and took them to Jabesh-gilead, where they burned their flesh and buried the bones.

Classical Rabbinical views[link]

Two opposing views of Saul are found in classical rabbinical literature. One is based on the reverse logic that punishment is a proof of guilt, and therefore seeks to rob Saul of any halo which might surround him; typically this view is similar to the republican source. The passage referring to Saul as a choice young man, and goodly (1 Samuel 9:2) is in this view interpreted as meaning that Saul was not good in every respect, but goodly only with respect to his personal appearance (Num. Rashi 9:28). According to this view, Saul is only a weak branch (Gen. Rashi 25:3), owing his kingship not to his own merits, but rather to his grandfather, who had been accustomed to light the streets for those who went to the bet ha-midrash, and had received as his reward the promise that one of his grandsons should sit upon the throne (Lev. Rashi 9:2).

The second view of Saul makes him appear in the most favourable light as man, as hero, and as king. This view is similar to that of the monarchical source. In this view it was on account of his modesty that he did not reveal the fact that he had been anointed king (1 Samuel 10:16; Meg. 13b); and he was extraordinarily upright as well as perfectly just. Nor was there any one more pious than he (M. Q. 16b; Ex. Rashi 30:12); for when he ascended the throne he was as pure as a child, and had never committed sin (Yoma 22b). He was marvelously handsome; and the maidens who told him concerning Samuel (cf 1 Samuel 9:11-13) talked so long with him that they might observe his beauty the more (Ber. 48b). In war he was able to march 120 miles without rest. When he received the command to smite Amalek (1 Samuel 15:3), Saul said: For one found slain the Torah requires a sin offering [Deuteronomy 21:1-9]; and here so many shall be slain. If the old have sinned, why should the young suffer; and if men have been guilty, why should the cattle be destroyed? It was this mildness that cost him his crown. And while Saul was merciful to his enemies, he was strict with his own people; when he found out that Avimelech, a kohen, had assisted David with finding food, Saul, in retaliation, killed the rest of the 85 kohanim of the family of Avimelech and the rest of his hometown, Nov. (Yoma 22b; Num. Rashi 1:10) The fact that he was merciful even to his enemies, being indulgent to rebels themselves, and frequently waiving the homage due to him, was incredible as well as deceiving. But if his mercy toward a foe was a sin, it was his only one; and it was his misfortune that it was reckoned against him, while David, although he had committed much iniquity, was so favored that it was not remembered to his injury (Yoma 22b; M. Q. 16b, and Rashi ad loc.). In some respects Saul was superior to David, e.g., in having only one concubine {Rizpah}, while David had many. Saul expended his own substance for the war, and although he knew that he and his sons would fall in battle, he nevertheless went forward, while David heeded the wish of his soldiers not to go to war in person (2 Samuel 21:17; Lev. Rashi 26:7; Yalq., Sam. 138).

According to the Rabbis, Saul ate his food with due regard for the rules of ceremonial purity prescribed for the sacrifice (Yalq., l.c.), and taught the people how they should slay cattle (cf 1 Samuel 14:34). As a reward for this, God himself gave Saul a sword on the day of battle, since no other sword suitable for him was found (ibid 13:22). Saul's attitude toward David finds its excuse in the fact that his courtiers were all tale-bearers, and slandered David to him (Deut. Rashi 5:10); and in like manner he was incited by Doeg against the priests of Nob (1 Samuel 22:16-19; Yalq., Sam. 131) - this act was forgiven him, however, and a heavenly voice (bat qol) was heard, proclaiming: Saul is the chosen one of God (Ber. 12b). His anger at the Gibeonites (2 Samuel 21:2) was not personal hatred, but was induced by zeal for the welfare of Israel (Num. Rashi 8:4). The fact that he made his daughter remarry (1 Samuel 25:44), finds its explanation in his (Saul's) view that her betrothal to David had been gained by false pretenses, and was therefore invalid (Sanhedrin 19b). During the lifetime of Saul there was no idolatry in Israel. The famine in the reign of David (cf 2 Samuel 21:1) was to punish the people, because they had not accorded Saul the proper honours at his burial (Num. Rashi 8:4). In Sheol, Samuel reveals to Saul that in the next world, Saul would dwell with Samuel, which is a proof that all has been forgiven him by god('Er. 53ba]

Biblical criticism[link]

Saul's name and Samuel's birth-narrative[link]

The birth-narrative of the prophet Samuel is found at 1 Samuel 1-28. It describes how Samuel's mother Hannah requests a son from Yahweh, and dedicates the child to God at the shrine of Shiloh. The passage makes extensive play with the root-elements of Saul's name, and ends with the phrase hu sa'ul le-Yahweh, "he is dedicated to Yahweh." Hannah names the resulting son Samuel, giving as her explanation, "because from God I requested him." Samuel's name, however, means "name of God," and the etymology and multiple references to the root of the name seems to fit Saul instead. The majority explanation for the discrepancy is that the narrative originally described the birth of Saul, and was given to Samuel in order to enhance the position of David and Samuel at the former king's expense.^[7]

Divine Rejection or Judgement[link]

The main challenge Saul encounters is his lack of divine approval; he is portrayed negatively as soon as David is added to the narrative.^[8] At this point Saul is rejected and the Spirit of the Lord is replaced by an "evil spirit" explained in 1 Samuel 16:14. In contrast, once David is anointed, "the spirit of the Lord comes upon [him]."^[8] David's anointment differs from Saul's because it is relatively unfailing throughout the narrative despite David's shortcomings, such as his adultery with Bathsheba and murder of Uriah.

In Islam[link]

Muslims believe Saul (Arabic: طالوت, Tālūt‎) was the commander of Israel, as do Jews and Christians. According to the Qur'an, Saul was chosen by the prophet Samuel (not mentioned by name explicitly but rather as "a Prophet" of Israelites) after being asked by the people of Israel for a king to lead them into war. The Israelites criticized Samuel for appointing Saul because Saul was not wealthy so they had no respect for him. Samuel rebuked the people for this and told them that Saul was far more favored than they were. Saul led the Israelites to victory over the army of Goliath who was killed by David. Saul is not considered a prophet generally but rather a divinely appointed king.

Name[link]

The name Tālūt has uncertain etymological origins. It is not similar to the Hebrew name (Sha'ul), like most Qur'anic figures. According to Muslim exegetes, the name Tālūt means 'tall' (from the Arabic "tūl") and refers to the extraordinary stature of Saul - in consonance with Biblical accounts, Muslim exegetes explain that Saul's remarkable feature was his stature.^[9] In explanation of the name, exegetes such as Tha'labi hold that at this time, the future king of Israel was to be recognised by his height; Samuel set up a measure, but no one in Israel reached its height except Tālūt (Saul).

Saul as the first King[link]

In the Qur'an, Israel demanded a king after the time of Moses. God appointed Saul king, but the people did not find him worthy of the throne. Saul was distinguished for the greatness of his knowledge and for his great physique; it was a sign of his role as King to rule that God brought back the Ark of the Covenant for Israel. Saul tested his people at a river; whoever drank from it, would not follow him in battle. Many drunk but only the faithful ventured on. In the battle, however, David slew Goliath and was made the subsequent King of Israel. The Qur'anic account differs slightly from the Biblical account in that the sacred ark was recaptured in the Bible before Saul's accession and the test by drinking water is made in the Bible not by Saul but by Gideon.^[10]

Notes[link]

See also[link]

• Midrash Samuel
• Islamic view of David

Wikimedia Commons has media related to: Saul

Further reading[link]

• Wellhausen, Julius, Der Text der Bücher Samuelis
• Budde, Die Bücher Richter und Samuel, 1890, pp. 167–276
• Driver, S. R., Notes on the Hebrew Text of the Books of Samuel, 1890
• Cheyne, T. K., Aids to the Devout Study of Criticism, 1892, pp. 1–126
• Smith, H. P., Old Testament History, 1903, ch. vii.
• Cheyne, T. K., and Black, (eds.) Encyclopedia Biblica
• SAMUEL AND SAUL: A NEGATIVE SYMBIOSIS by Rabbi Moshe Reiss
• Hudson, J. Francis, 'Rabshakeh' [Lion Publishing 1992] is a fictionalisation of Saul's tragedy.
• Green, A., 'King Saul, The True History of the First Messiah' [Lutterworth Press 2007]

 This article incorporates text from a publication now in the public domain: Joseph Jacobs, Ira Maurice Price, Isidore Singer, and Jacob Zallel Lauterbach (1901–1906). "Saul". Jewish Encyclopedia. http://www.jewishencyclopedia.com/view.jsp?artid=275&letter=S. 

Saul Bass (May 8, 1920 – April 25, 1996) was a graphic designer and filmmaker, perhaps best known for his design of film posters and motion picture title sequences.

During his 40-year career Bass worked for some of Hollywood's greatest filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Amongst his most famous title sequences are the animated paper cut-out of a heroin addict's arm for Preminger's The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of the United Nations building in Hitchcock's North by Northwest, and the disjointed text that races together and apart in Psycho.

Bass designed some of the most iconic corporate logos in North America, including the AT&T "bell" logo in 1969, as well as AT&T's "globe" logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines' 1968 "jetstream" logo and United Airlines' 1974 "tulip" logo which became some of the most recognized airline industry logos of the era.

Early life[link]

Saul Bass was born on May 8, 1920, in the Bronx, New York, to Eastern European Jewish immigrant parents. He graduated from James Monroe High School in the Bronx and studied part-time at the Art Students League in Manhattan until attending night classes with György Kepes at Brooklyn College.^[1] He began his time in Hollywood during the 1940s doing print work for film ads, until he collaborated with filmmaker Otto Preminger to design the film poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass's work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create something more than a title sequence, but to create something which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.

Film title sequences[link]

Bass became widely known in the film industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm (1955). The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid-'50s. Bass decided to create a controversial title sequence to match the film's controversial subject. He chose the arm as the central image, as the arm is a strong image relating to drug addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he expected, it caused quite a sensation.

For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.^[2]

Bass once described his main goal for his title sequences as being to ‘’try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story”.^[3] Another philosophy that Bass described as influencing his title sequences was the goal of getting the audience to see familiar parts of their world in an unfamiliar way. Examples of this or what he described as “making the ordinary extraordinary” can be seen in Walk on the Wild Side (1962) where an ordinary cat becomes a mysterious prowling predator, and in Nine Hours to Rama (1963) where the interior workings of a clock become an expansive new landscape.^[4]

He designed title sequences for more than 40 years, and employed diverse film making techniques, from cut-out animation for Anatomy of a Murder (1958), to fully animated mini-movies such as the epilogue for Around the World in 80 Days (1956), and live action sequences. His live action opening title sequences often served as prologues to their films and transitioned seamlessly into their opening scenes. These “time before” title sequences either compress or expand time with startling results. The title sequence to Grand Prix (1966) portrays the moments before the opening race in Monte Carlo, the title sequence to The Big Country (1958) depicts the days it takes a stage coach to travel to a remote Western town, and the opening montage title sequence to The Victors (1963) chronicles the twenty seven years between WWI and the middle of WWII, where the film begins.

Toward the end of his career, he was rediscovered by James L. Brooks and Martin Scorsese who had grown up admiring his film work.^[5] For Scorsese, Saul Bass (in collaboration with his wife Elaine Bass) created title sequences for Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993), and Casino (1995), his last title sequence. His later work with Martin Scorsese saw him move away from the optical techniques that he had pioneered and move into the use of computerized effects. Bass’s title sequences featured new and innovative methods of production and startling graphic design.

In some sense, all modern opening title sequences that introduce the mood or theme of a film can be seen as a legacy of Saul Bass's innovative work. In particular, though, title sequences for some recent movies and television series, especially those whose setting is during the 1960s, have purposely emulated the graphic style of his animated sequences from that era. Some examples of title sequences that pay homage to Bass’s graphics and animated title sequences are Catch Me If You Can (2002)^[6], X-Men: First Class (2011)^[7], and the opening to the AMC series Mad Men.^[8]

Selected film title sequences and respective dates[link]

Logos and other designs[link]

Bass was responsible for some of the best-remembered, most iconic logos in North America, including both the Bell Telephone logo (1969) and successor AT&T globe (1983). Other well-known designs were Continental Airlines (1968), Dixie (1969) and United Airlines (1974). Later, he would produce logos for a number of Japanese companies as well.

Selected logos by Saul Bass and their respective dates (note that the links shown point to articles on the entities themselves, and not necessarily to the logos):

An analysis of a sample of Bass’s corporate logos in 2011 found them to have an unusual longevity. The most common cause of the demise of a Bass corporate logo (in the selection analyzed) was the demise of the company, rather than a corporate logo redesign. The average lifespan of a Bass logo is more than 34 years, and counting.^[11]

Movie posters[link]

Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. Before Bass’s seminal poster for The Man with the Golden Arm (1955), movie posters were dominated by depictions of key scenes or characters from the film, often both juxtaposed with each other. Bass’s posters, however, typically developed simplified, symbolic designs that visually communicated key essential elements of the film. For example, his poster for a Man with a Golden Arm, with a jagged arm and off-kilter typography, starkly communicates the protagonist's struggle with heroin addition. Bass's iconic Vertigo (1958) poster, with its stylized figures sucked down into the nucleus of a spiral vortex, captures the anxiety and disorientation central to the film. His poster for Anatomy of a Murder (1959), featuring the silhouette of a corpse jarringly dissected into seven pieces, makes both a pun on the film’s title and captures the moral ambiguities within which this court room drama is immersed.

He created some of his best known posters for films directed by Otto Preminger, Alfred Hitchcock, Billy Wilder, and Stanley Kubrick among others. His last commissioned film poster was created for Steven Spielberg's Schindler's List (1993), but it was never distributed^[12]. His poster work spanned five decades and inspired numerous other poster and graphic designers. Bass's film posters are characterized by a distinctive typography and minimalistic style.

Selected posters by Saul Bass, and their respective dates.

1950s[link]

Love in the Afternoon poster designed by Bass.

• Carmen Jones (1954)
• The Man with the Golden Arm (1955)
• Edge of the City (1956)
• Storm Center (1956)
• Love in the Afternoon (1957)
• Saint Joan (1957)
• Bonjour Tristesse (1958)
• The Big Country (1958) (style b poster)
• Vertigo (1958)
• Anatomy of a Murder (1959)

1960s[link]

• Exodus (1960)
• The Magnificent Seven (1960) (design not used)
• One, Two, Three (1961)
• Advise & Consent (1962)
• The Cardinal (1963)
• In Harm's Way (1964)
• Bunny Lake is Missing (1965)
• The Firemen's Ball (1967)
• The Two of Us (1967)
• Why Man Creates (1968)
• Very Happy Alexander (1969)

1970s[link]

• Such Good Friends (1971)
• Rosebud (1975)
• Bass on Titles (1978)
• Brothers (1977)
• Notes on the Popular Arts (1977)
• The Human Factor (1979)

1980s and 1990s[link]

• The Shining (1980)
• The Solar Film (1980)
• Return from the River Kwai (1989)
• Schindler's List (1993) (undistributed poster)

He received an unintentionally backhanded tribute in 1995, when Spike Lee's film Clockers was promoted by a poster that was strikingly similar to Bass's 1959 work for Preminger's film Anatomy of a Murder. Designer Art Sims claimed that it was made as an homage, but Bass regarded it as theft.^[13] Many film posters have been considered to be homages to Saul Bass’s posters. Some recent examples include, the theatrical release poster for Burn After Reading (2008) which incorporates Bass’s typography and style of figurative minimalism^[14], and a poster for Precious (2009) which includes elements from several of Bass’s posters, including Anatomy of a Murder.^[15] The cover art for the White Stripes' single The Hardest Button to Button is clearly inspired by the Bass poster for The Man with the Golden Arm.

In addition to movie posters, Bass designed numerous posters for film festivals, and several magazine, book, and album covers. He also designed five Academy Award Presentation posters and the Student Academy Award for the Academy of Motion Picture Arts and Sciences.^[16] In 1962 he illustrated his only children’s book, Henri’s Walk to Paris, written by Lenore Klein.^[17]

Filmmaker[link]

During the 1960s, Bass was asked by directors and producers not only to produce title sequences for their films, but also to visualize and storyboard key scenes and sequences within them. Bass has the unusual credit of “visual consultant” or “pictorial consultant” on five films. For Spartacus (1960), Bass as “visual consultant” designed key elements of the gladiator school and storyboarded the final battle between slaves and Romans. John Frankenheimer, the director of Grand Prix (1966), had Bass storyboard, direct, and edit all but one of the racing sequences for his film. For West Side Story (1961) Bass filmed the prologue, storyboarded the opening dance sequence, and created the ending title sequence.^[18]

It is Bass’s credited role as “pictorial consultant” for Alfred Hitchcock on Psycho (1960), however, that has caused some controversy. Bass claimed that he participated in directing the highlight scene of Psycho, the tightly edited shower-murder sequence, though several on set at the time (including star Janet Leigh) disputed his contention of "direction". However, it can be argued that said dispute was simply semantic in nature with Bass's use of the term "directing" reflecting his own perspective on the "directorial" value of his influential graphic contribution to the scene, while the position of Leigh and the others on set was based on the scene being literally directed by Hitchcock as the film director ultimately in charge of all artistic decisions.

The research of several film scholars on Hitchcock's production of Psycho validates the claim that Bass in his capacity as a graphic artist did indeed have a significant influence on the visual design and pacing of that famous scene. Hitchcock had asked Bass to produce storyboards for the shower-murder scene and for some other scenes in the film. For this, Bass received a credit as Pictorial Consultant as well as Title Designer. Janet Leigh told Donald Spoto that “the planning of the shower scene was left up to Saul Bass, and Hitchcock followed his storyboard precisely. Because of this . . . [the shooting] went very professionally,”^[19] and she told Stephen Rebello that “Mr. Hitchcock showed Saul Bass’s storyboards to me quite proudly, telling me in exact detail how he was going to shoot the scene from Saul’s plans”.^[20]

Bill Krohn has noted that Bass's 48 story board panels for the scene introduced all the key aspects of the final shower-murder scene, namely the fact that the attacker would be seen as a silhouette, the shower curtain torn down, a close-up of the shower head from below, a high angle shot of the murder scene with the curtain rod used as a barrier and the famous shot of the transition from the drainage hole of the bathtub to Marion Crane's dead eye which as Krohn notes is reminiscent of Bass's iris titles for Vertigo.^[21] Krohn also concludes that Bass did not literally direct the shower-murder scene, proving Hitchcock's presence on the set throughout the shooting of that scene conclusively.^[21]

Bass introduced the idea of using a montage of fast cuts and tight framing to render a violent, bloody murder as an impressionistic and nearly bloodless one. Hitchcock felt uncertain about Bass’s conception of the scene fearing that audiences might not accept such a stylized and quickly cut sequence. In an interview with film historian Pat Kirkham, Bass recalled, “Having designed and storyboarded the shower sequence, I showed it to Hitch. He was uneasy about it. It was very un-Hitchcockian in character. He never used that kind of quick cutting; he loved the long shot”^[22].

To convince Hitchcock that the scene would work as planned, eight days before shooting of the final shower scene, Bass used a newsreel camera and Janet Leigh’s stand-in Marli Renfro to shoot footage on the set to plan the shots in more detail. Working with Hitchcock's editor George Tomasini, he edited this footage following the storyboards to show Hitchcock how the scene could work. In the end, Hitchcock gave his approval but, according to Kirkham, made two additions: a spray of blood on the chest of Marion Crane/Janet Leigh as she slides down the tiles, and a close-up of her belly getting stabbed.^[23]

In 1964, Bass directed a short film titled The Searching Eye shown during the 1964 New York World's Fair, coproduced with Sy Wexler. He also directed a short documentary film called Why Man Creates which won an Academy Award Oscar in 1968. An abbreviated version of that film was broadcast on the first episode of the television newsmagazine 60 Minutes, on September 24 of that year. In 2002, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".^[24] Saul Bass co-directed with his wife Elaine Bass several other short films, two of which were nominated for Academy Award Oscars; Notes on the Popular Arts in 1977, and The Solar Film in 1979, the latter for which Robert Redford was the executive producer.

In 1974, he made his only feature length film as a director, the visually splendid though little-known science fiction film Phase IV, a "Quiet, haunting, beautiful, [...] and largely overlooked, science-fiction masterwork".^[25]

Quotes[link]

This section is a candidate to be copied to Wikiquote using the Transwiki process.

"My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it."^[26]

"Design is thinking made visual."

"There is nothing glamorous in what I do. I'm a working man. Perhaps I'm luckier than most in that I receive considerable satisfaction from doing useful work which I, and sometimes others, think is good."^[27]

"Symbolize and summarize."^[28]

See also[link]

	Design portal
	Biography portal
	United States portal
	Film portal

• Motion graphic
• Kinetic typography
• Paul Rand
• Richard Amsel
• Jack Davis
• Frank Frazetta
• The Brothers Hildebrandt
• Tom Jung
• Frank McCarthy
• Bob Peak
• Drew Struzan
• Howard Terpning

References[link]

Further reading[link]

• Kirkham, Pat and Jennifer Bass (2011). Saul Bass: A Life in Film & Design. London: Laurence King. ISBN 978-1-85669-752-1.
• Tomislav Terek (2001). Saul Bass on Titles: Film Titles Revealed. Defunkt Century. ISBN 1-903792-00-2.

External links[link]

• Saul Bass at the Internet Movie Database
• Saul Bass at Find a Grave
• Saul Bass on the Web
• Saul Bass in the Looniverse
• Bio-film & resources on Saul Bass
• Title sequences from Saul Bass (videos & commentary)
• Titles designed by Saul Bass (still sequences & commentary)
• Pitch video for 1969 Bell System logo, uniform, and vehicle redesign

Saul Bellow
Saul Bellow at the Miami Book Fair International of 1990
Born	Solomon Bellow (1915-06-10)June 10, 1915 Montreal, Quebec, Canada
Died	April 5, 2005(2005-04-05) (aged 89) Brookline, Massachusetts, United States
Occupation	Writer
Nationality	Canadian/American
Ethnicity	Jewish
Alma mater	University of Chicago Northwestern University University of Wisconsin-Madison
Notable award(s)	Nobel Prize in Literature 1976 Pulitzer Prize for Fiction 1976 National Medal of Arts 1988 National Book Award 1954, 1965, 1971
Influences The Bible, Miguel de Cervantes, William Shakespeare, Stendhal, Mark Twain, Fyodor Dostoevsky, Anton Chekhov, Joseph Conrad, James Joyce, Thomas Mann, Franz Kafka, Marcel Proust, Rudolf Steiner[1]
Influenced Philip Roth, Martin Amis, Ian McEwan, Salman Rushdie, Umberto Eco, Julian Barnes, John Berryman, Dave Eggers

Saul Bellow (June 10, 1915 – April 5, 2005) was a Canadian-born American writer. For his literary contributions, Bellow was awarded the Pulitzer Prize, the Nobel Prize for Literature, and the National Medal of Arts.^[2] He is the only writer to win the National Book Award for Fiction three times^[3] and he received the Foundation's lifetime Medal for Distinguished Contribution to American Letters in 1990.^[4]

In the words of the Swedish Nobel Committee, his writing exhibited "the mixture of rich picaresque novel and subtle analysis of our culture, of entertaining adventure, drastic and tragic episodes in quick succession interspersed with philosophic conversation, all developed by a commentator with a witty tongue and penetrating insight into the outer and inner complications that drive us to act, or prevent us from acting, and that can be called the dilemma of our age."^[5] His best-known works include The Adventures of Augie March, Henderson the Rain King, Herzog, Mr. Sammler's Planet, Seize the Day, Humboldt's Gift and Ravelstein. Widely regarded as one of the 20th century's greatest authors, Bellow has had a "huge literary influence."^[6]

Bellow said that of all his characters Eugene Henderson, of "Henderson the Rain King," was the one most like himself.^[7] Bellow grew up as an insolent slum kid, a "thick-necked" rowdy, and an immigrant from Quebec. As Christopher Hitchens describes it, Bellow's fiction and principal characters reflect his own yearning for transcendence, a battle "to overcome not just ghetto conditions but also ghetto psychoses." ^[8] Bellow's protagonists, in one shape or another, all wrestle with what Corde (Albert Corde, the dean in "The Dean's December") called "the big-scale insanities of the 20th century." This transcendence of the "unutterably dismal" (a phrase from Dangling Man) is achieved, if it can be achieved at all, through a "ferocious assimilation of learning" (Hitchens) and an emphasis on nobility.

In 1989, Bellow received the Peggy V. Helmerich Distinguished Author Award. The Helmerich Award is presented annually by the Tulsa Library Trust.

Early life[link]

Saul Bellow was born Solomon Bellow^[9] in Lachine, Quebec, two years after his parents emigrated from Saint Petersburg, Russia. Bellow celebrated his birthday in June, although he may have been born in July (in the Jewish community, it was customary to record the Hebrew date of birth, which does not always coincide with the Gregorian calendar).^[10] Of his family's emigration, Bellow wrote:

A period of illness from a respiratory infection at age eight both taught him self-reliance (he was a very fit man despite his sedentary occupation) and provided an opportunity to satisfy his hunger for reading: reportedly, he decided to be a writer when he first read Harriet Beecher Stowe's Uncle Tom's Cabin.

When Bellow was nine, his family moved to the Humboldt Park neighborhood of Chicago, the city that was to form the backdrop of many of his novels.^[9] Bellow's father, Abraham, was an onion importer. He also worked in a bakery, as a coal delivery man, and as a bootlegger.^[9] Bellow's mother, Liza, died when he was 17. He was left with his father and brother Maurice. His mother was deeply religious, and wanted her youngest son, Saul, to become a rabbi or a concert violinist. But he rebelled against what he later called the "suffocating orthodoxy" of his religious upbringing, and he began writing at a young age.^[9] Bellow's lifelong love for the Bible began at four when he learned Hebrew. Bellow also grew up reading William Shakespeare and the great Russian novelists of the 19th century.^[9] In Chicago, he took part in anthroposophical studies. Bellow attended Tuley High School on Chicago's west side where he befriended fellow writer Isaac Rosenfeld. In his 1959 novel Henderson the Rain King, Bellow modeled the character King Dahfu on Rosenfeld.^[12]

Education and early career[link]

Bellow attended the University of Chicago but later transferred to Northwestern University. He originally wanted to study literature, but he felt the English department to be anti-Jewish; instead, he graduated with honors in anthropology and sociology.^[13] It has been suggested Bellow's study of anthropology had an interesting influence on his literary style, and anthropological references pepper his works.^{[citation needed]} Bellow later did graduate work at the University of Wisconsin–Madison.

Paraphrasing Bellow's description of his close friend Allan Bloom (see Ravelstein), John Podhoretz has said that both Bellow and Bloom "inhaled books and ideas the way the rest of us breathe air."^[14]

In the 1930s, Bellow was part of the Chicago branch of the Works Progress Administration Writer's Project, which included such future Chicago literary luminaries as Richard Wright and Nelson Algren. Most of the writers were radical: if they were not card-carrying members of the Communist Party USA, they were sympathetic to the cause. Bellow was a Trotskyist, but because of the greater numbers of Stalinist-leaning writers he had to suffer their taunts.^[15]

In 1941 Bellow became a naturalized US citizen.^[16] In 1943, Maxim Lieber was his literary agent.

During World War II, Bellow joined the merchant marine and during his service he completed his first novel, Dangling Man (1944) about a young Chicago man waiting to be drafted for the war.

From 1946 through 1948 Bellow taught at the University of Minnesota, living on Commonwealth Avenue, in St. Paul, Minnesota.^[17]

In 1948, Bellow was awarded a Guggenheim Fellowship that allowed him to move to Paris, where he began writing The Adventures of Augie March (1953). Critics have remarked on the resemblance between Bellow's picaresque novel and the great 17th Century Spanish classic Don Quixote. The book starts with one of American literature's most famous opening paragraphs, and it follows its titular character through a series of careers and encounters, as he lives by his wits and his resolve. Written in a colloquial yet philosophical style, The Adventures of Augie March established Bellow's reputation as a major author.

In the late 1950s he taught creative writing at the University of Puerto Rico at Rio Piedras. One of his students was William Kennedy, who was encouraged by Bellow to write fiction.

Return to Chicago[link]

Bellow lived in New York City for a number of years, but he returned to Chicago in 1962 as a professor at the Committee on Social Thought at the University of Chicago. The committee's goal was to have professors work closely with talented graduate students on a multi-disciplinary approach to learning. Bellow taught on the committee for more than 30 years, alongside his close friend, the philosopher Allan Bloom.

There were also other reasons for Bellow's return to Chicago, where he moved into the Hyde Park neighborhood with his third wife, Susan Glassman. Bellow found Chicago to be vulgar but vital, and more representative of America than New York.^[18] He was able to stay in contact with old high school friends and a broad cross-section of society. In a 1982 profile, Bellow's neighborhood was described as a high-crime area in the city's center, and Bellow maintained he had to live in such a place as a writer and "stick to his guns."^[19]

Bellow hit the bestseller list in 1964 with his novel Herzog. Bellow was surprised at the commercial success of this cerebral novel about a middle-aged and troubled college professor who writes letters to friends, scholars and the dead, but never sends them. Bellow returned to his exploration of mental instability, and its relationship to genius, in his 1975 novel Humboldt's Gift. Bellow used his late friend and rival, the brilliant but self-destructive poet Delmore Schwartz, as his model for the novel's title character, Von Humboldt Fleisher.^[20] Bellow also used Rudolf Steiner's spiritual science, anthroposophy, as a theme in the book, having attended a study group in Chicago. He was elected a Fellow of the American Academy of Arts and Sciences in 1969.^[21]

Nobel Prize[link]

Saul Bellow (left) with Keith Botsford ca 1992

Propelled by the success of Humboldt's Gift, Bellow won the Nobel Prize in literature in 1976. In the 70-minute address he gave to an audience in Stockholm, Sweden, Bellow called on writers to be beacons for civilization and awaken it from intellectual torpor.^[20]

The following year, the National Endowment for the Humanities selected Bellow for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. Bellow's lecture was entitled "The Writer and His Country Look Each Other Over."^[22]

Bellow traveled widely throughout his life, mainly to Europe, which he sometimes visited twice a year.^[20] As a young man, Bellow went to Mexico City to meet Leon Trotsky, but the expatriate Russian revolutionary was assassinated the day before they were to meet. Bellow's social contacts were wide and varied. He tagged along with Robert F. Kennedy for a magazine profile he never wrote, he was close friends with the author Ralph Ellison. His many friends included the journalist Sydney J. Harris and the poet John Berryman.^{[citation needed]}

While sales of Bellow's first few novels were modest, that turned around with Herzog. Bellow continued teaching well into his old age, enjoying its human interaction and exchange of ideas. He taught at Yale University, University of Minnesota, New York University, Princeton University, University of Puerto Rico, University of Chicago, Bard College and Boston University, where he co-taught a class with James Wood ('modestly absenting himself' when it was time to discuss Seize the Day). In order to take up his appointment at Boston, Bellow moved in 1993 from Chicago to Brookline, Massachusetts, where he died on April 5, 2005, at age 89. He is buried at the Jewish cemetery Shir HeHarim of Brattleboro, Vermont.

Bellow was married five times, with all but his last marriage ending in divorce. His son by his second marriage, Adam, published a nonfiction book In Praise of Nepotism in 2003. Bellow's wives were Anita Goshkin, Alexandra Tsachacbasov, Susan Glassman, Alexandra Ionescu Tulcea and Janis Freedman. In 1999, when he was 84, Bellow had a daughter, his fourth child, with Freedman.

While he read voluminously, Bellow also played the violin and followed sports. Work was a constant for him, but he at times toiled at a plodding pace on his novels, frustrating the publishing company.^[20]

His early works earned him the reputation as one of the foremost novelists of the 20th century, and by his death he was widely regarded to be one of the greatest living novelists.^[23] He was the first writer to win three National Book Awards in all award categories.^[3] His friend and protege Philip Roth has said of him, "The backbone of 20th-century American literature has been provided by two novelists — William Faulkner and Saul Bellow. Together they are the Melville, Hawthorne, and Twain of the 20th century." James Wood, in a eulogy of Bellow in The New Republic, wrote:^[24]

Themes and style[link]

The author's works speak to the disorienting nature of modern civilization, and the countervailing ability of humans to overcome their frailty and achieve greatness (or at least awareness). Bellow saw many flaws in modern civilization, and its ability to foster madness, materialism and misleading knowledge.^[25] Principal characters in Bellow's fiction have heroic potential, and many times they stand in contrast to the negative forces of society. Often these characters are Jewish and have a sense of alienation or otherness.

Jewish life and identity is a major theme in Bellow's work, although he bristled at being called a "Jewish writer." Bellow's work also shows a great appreciation of America, and a fascination with the uniqueness and vibrancy of the American experience.

Bellow's work abounds in references and quotes from the likes of Marcel Proust and Henry James, but he offsets these high-culture references with jokes.^[9] Bellow interspersed autobiographical elements into his fiction, and many of his principal characters were said to bear a resemblance to him.

Criticism, controversy and conservative cultural activism[link]

Martin Amis described Bellow as "The greatest American author ever, in my view".^[26]

For Linda Grant, "what Bellow had to tell us in his fiction was that it was worth it, being alive."

On the other hand, Bellow's detractors considered his work conventional and old-fashioned, as if the author was trying to revive the 19th century European novel. In a private letter, Vladimir Nabokov once referred to Bellow as a "miserable mediocrity."^[29] Journalist and author Ron Rosenbaum described Bellow's Ravelstein (2000) as the only book that rose above Bellow's failings as an author. Rosenbaum wrote,

Sam Tanenhaus wrote in New York Times Book Review in 2007:

But, Tanenhaus went on to answer his question:

V. S. Pritchett praised Bellow, finding his shorter works to be his best. Pritchett called Bellow's novella Seize the Day a "small gray masterpiece."^[9]

Bellow's account of his 1975 trip to Israel, To Jerusalem and Back: A Personal Account, was criticized by Noam Chomsky in his 1983 book Fateful Triangle: the United States, Israel & the Palestinians. Bellow, Chomsky wrote, "sees an Israel where ‘almost everyone is reasonable and tolerant, and rancor against the Arabs is rare,’ where the people ‘think so hard, and so much’ as they ‘farm a barren land, industrialize it, build cities, make a society, do research, philosophize, write books, sustain a great moral tradition, and finally create an army of tough fighters.’ He has also been criticized for having praised Joan Peters's book, From Time Immemorial, which denied the existence of Palestinians and was exposed almost immediately after publication as containing gross falsifications of the sources it cited.^[32][33]

As he grew older, Bellow moved decidedly away from leftist politics and became identified with cultural conservatism.^[20] His opponents included feminism, campus activism^[34] and postmodernism. In 1995 along with Lynne V. Cheney and other noted conservatives, he helped found the American Council of Trustees and Alumni (ACTA) based in Washington, D.C. and funded by the conservative Bradley Foundation and John M. Olin Foundation^{[citation needed]} Promoting the Core Curriculum view of liberal education, the ACTA is best known for its 2001 report, Defending Civilization . . . , which met with wide criticism and accusations of neo-McCarthyism, because it served as a broadside against a "liberal academia" that the report authors saw as being insufficiently patriotic and "soft" on international terrorism.^[35] Following a barrage of criticism, ACTA published a "revised and expanded" version.

Bellow also thrust himself into the often contentious realm of Jewish and African-American relations. In Mr. Sammler's Planet, Bellow's portrayal of a black pickpocket who exposes himself in public was criticized, by some activists, as racist. In 2007, attempts to name a street after Bellow in his Hyde Park neighborhood were scotched by local alderman on the grounds that Bellow had made remarks about the neighborhood's current inhabitants that they considered racist.^[36]

In an interview in the March 7, 1988 New Yorker, Bellow sparked a controversy when he asked, concerning multiculturalism, "Who is the Tolstoy of the Zulus? The Proust of the Papuans? I'd be glad to read him." The taunt was seen by some as a slight against non-Western literature. Bellow at first claimed to have been misquoted. Later, writing in his defense in the New York Times, he said, "The scandal is entirely journalistic in origin... Always foolishly trying to explain and edify all comers, I was speaking of the distinction between literate and preliterate societies. For I was once an anthropology student, you see." Bellow claimed to have remembered shortly after making his infamous comment that he had in fact read a Zulu novel in translation: Chaka by Thomas Mofolo (an inaccuracy remains in this: Mofolo's novel is in Sesotho, not Zulu).

Despite his identification with Chicago, he kept aloof from some of that city's more conventional writers. Studs Terkel in a 2006 interview with Stop Smiling magazine said of Bellow: "I didn't know him too well. We disagreed on a number of things politically. In the protests in the beginning of Norman Mailer's Armies of the Night, when Mailer, Robert Lowell and Paul Goodman were marching to protest the Vietnam War, Bellow was invited to a sort of counter-gathering. He said, 'Of course I'll attend'. But he made a big thing of it. Instead of just saying OK, he was proud of it. So I wrote him a letter and he didn't like it. He wrote me a letter back. He called me a Stalinist. But otherwise, we were friendly. He was a brilliant writer, of course. I love Seize the Day."

Quotations[link]

"[There is] an immense, painful longing for a broader, more flexible, fuller, more coherent, more comprehensive account of what we human beings are, who we are and what this life is for."^[37]

"I feel that art has something to do with the achievement of stillness in the midst of chaos. A stillness which characterizes prayer, too, and the eye of the storm. I think that art has something to do with an arrest of attention in the midst of distraction."^[38]

"A great deal of intelligence can be invested in ignorance when the need for illusion is deep."^[39]

"People can lose their lives in libraries. They ought to be warned."^[40]

Bibliography[link]

Novels and novellas[link]

• Dangling Man (1944)
• The Victim (1947)
• The Adventures of Augie March (1953) — National Book Award for Fiction^[41]
• Seize the Day (1956)
• Henderson the Rain King (1959)
• Herzog (1964) — National Book Award^[42]
• Mr. Sammler's Planet (1970) — National Book Award^[43]
• Humboldt's Gift (1975) — winner of the 1976 Pulitzer Prize for Fiction^[44]
• The Dean's December (1982)
• More Die of Heartbreak (1987)
• A Theft (1989)
• The Bellarosa Connection (1989)
• The Actual (1997)
• Ravelstein (2000)

Short Story Collections[link]

• Mosby's Memoirs (1968)
• Him with His Foot in His Mouth (1984)
• Something to Remember Me By: Three Tales (1991)
• Collected Stories (2001)

Library of America editions[link]

• Novels 1944–1953: Dangling Man, The Victim, The Adventures of Augie March (2003)
• Novels 1956–1964: Seize the Day, Henderson the Rain King, Herzog (2007)
• Novels 1970–1982: Mr. Sammler’s Planet, Humboldt’s Gift, The Dean’s December (2010)

Translations[link]

• Gimpel the Fool (1945) by Isaac Bashevis Singer (trans. by Bellow in 1953)

Non-Fiction[link]

• To Jerusalem and Back (1976) — memoir
• It All Adds Up (1994) — essay collection
• Saul Bellow: Letters, edited by Benjamin Taylor (2010) — correspondence

Works about Saul Bellow[link]

• Saul Bellow, Tony Tanner (1965) (see also his City of Words [1971])
• Saul Bellow, Malcolm Bradbury (1982)
• Saul Bellow Drumlin Woodchuck,Mark Harris, University of Georgia Press. (1982)
• Saul Bellow: Modern Critical Views, Harold Bloom (Ed.) (1986)
• Handsome Is: Adventures with Saul Bellow, Harriet Wasserman (1997)
• Saul Bellow and the Decline of Humanism, Michael K Glenday (1990)
• Saul Bellow: A Biography of the Imagination, Ruth Miller, St. Martins Pr. (1991)
• Bellow: A Biography, James Atlas (2000)
• "Even Later" and "The American Eagle" in Martin Amis, The War Against Cliché (2001) are celebratory. The latter essay is also found in the Everyman's Library edition of Augie March.
• 'Saul Bellow's comic style': James Wood in The Irresponsible Self: On Laughter and the Novel, 2004. ISBN 0-224-06450-9.
• The Hero in Contemporary American Fiction: The Works of Saul Bellow and Don DeLillo , Stephanie Halldorson (2007)
• Saul Bellow a song, written by Sufjan Stevens on The Avalanche

See also[link]

• List of Jewish Nobel laureates
• PEN/Saul Bellow Award for Achievement in American Fiction
• Wilhelm Reich

References[link]

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (May 2011)

Wikiquote has a collection of quotations related to: Saul Bellow

• Mr. Sammler's City, City Journal, Spring 2008
• Nobel site with two speeches (one of which is an audio recording) & longer biography
• Annotated Bibliography of Criticism by the Saul Bellow Society
• Bellow's 1955 autobiographical statement for reference book
• Gordon Lloyd Harper (Winter 1966). "Saul Bellow, The Art of Fiction No. 37". Paris Review. http://www.theparisreview.org/interviews/4405/the-art-of-fiction-no-37-saul-bellow. 
• JM Coetzee on the early novels
• Slate's assortment of other writers' takes on Bellow, mostly eulogistic
• Joyce Carol Oates on Saul Bellow
• Saul Bellow 'Bookweb' on literary website The Ledge, with suggestions for further reading.
• Blogpost on Bellow's Russian family name–Belo or Belov?
• Review of Bellow's collected letters
• Saul Bellow, a neocon’s tale by John Podhoretz
• Reflections with Saul Bellow by Dejan Stojanović
• Saul Bellow's grave, Brattleboro, Vermont
• 'Between Fiction and Autobiography', review of Letters in The Oxonian Review
• "Bellow and Trotsky", Judie Newman, Berfrois, 1 June 2011

Sir Alfred Hitchcock
Studio publicity photo
Born	Alfred Joseph Hitchcock (1899-08-13)13 August 1899 Leytonstone, London, England, UK
Died	29 April 1980(1980-04-29) (aged 80) Bel Air, California, US
Other names	Hitch The Master of Suspense
Occupation	Film director, film producer
Years active	1921–76
Influenced by	D. W. Griffith, Fritz Lang, Sergei Eisenstein,[1] F.W. Murnau[2]
Influenced	Brian De Palma, François Truffaut, Steven Spielberg, Martin Scorsese, Claude Chabrol, Robert Zemeckis, M. Night Shyamalan, David Lynch, Stanley Kubrick, Dario Argento, John Carpenter, Jonathan Demme, Tim Burton, Mel Brooks, David Fincher
Religion	Roman Catholic[3]
Spouse	Alma Reville (m.1926-80; his death)
Children	Patricia Hitchcock
Parents	William Hitchcock (father) Emma Jane Whelan (mother)

Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980)^[4] was an English film director and producer.^[5] He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in British cinema in both silent films and early talkies, Hitchcock moved to Hollywood. On 19 April 1955, he became an American citizen while remaining a British subject.

Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognisable directorial style.^[6] He pioneered the use of a camera made to move in a way that mimics a person's gaze, forcing viewers to engage in a form of voyeurism.^[7] He framed shots to maximise anxiety, fear, or empathy, and used innovative film editing.^[7] His stories frequently feature fugitives on the run from the law alongside "icy blonde" female characters.^[8] Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murder, and crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elements in the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his own films, interviews, film trailers, and the television program Alfred Hitchcock Presents, he became a cultural icon. Hitchocks reputation as a filmmaker is offset by claims that he engaged in obsessive and controlling behaviour towards many of his leading ladies, and that in some cases this extended to physical abuse and sexual harrassment.^[9]

Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest British filmmaker, he came first in a 2007 poll of film critics in Britain's Daily Telegraph, which said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."^[10][11] The magazine MovieMaker has described him as the most influential filmmaker of all time,^[12] and he is widely regarded as one of cinema's most significant artists.^[13]

Early life[link]

Hitchcock mosaic at Leytonstone Station

Hitchcock was born on 13 August 1899 in Leytonstone, London, England, the second son and youngest of three children of William Hitchcock (1862–1914), a greengrocer and poulterer, and Emma Jane Hitchcock (née Whelan; 1863–1942). Named Alfred after his father's brother, Hitchcock was raised Catholic and was sent to Salesian College (London)^[14] and the Jesuit Classic school St Ignatius' College in Stamford Hill, London.^[15][16] His mother and paternal grandmother were of Irish extraction.^[17][18] He often described his childhood as being very lonely and sheltered, a situation compounded by his obesity.^[19]

Around the age of 5, according to Hitchcock, he was sent by his father to the local police station with a note asking the officer to lock him away for ten minutes as punishment for behaving badly.^[20] This idea of being harshly treated or wrongfully accused is frequently reflected in Hitchcock's films.^[21]

Hitchcock's father died when he was 14. In the same year, Hitchcock left St. Ignatius to study at the London County Council School of Engineering and Navigation in Poplar, London.^[22] After leaving, he became a draftsman and advertising designer with a cable company called Henley's.^[23]

It was while working at Henley's that he first started to dabble creatively. Upon the formation of the company's in-house publication The Henley Telegraph in 1919, Hitchcock started to submit short articles, eventually becoming one of its most prolific contributors. His first piece was Gas (1919), published in the very first issue, in which a young woman imagines that she is being assaulted one night in Paris – only for the twist to reveal that it was all just a hallucination in the dentist's chair, induced by the anaesthetic. His second piece was The Woman's Part (1919), which involves the conflicted emotions a husband feels as he watches his wife, an actress, perform onstage.^[24] Sordid (1920) surrounds an attempt to buy a sword from an antiques dealer, with another twist ending. The short story And There Was No Rainbow (1920) was Hitchcock's first brush with possibly censurable material. A young man goes out looking for a brothel, only to stumble into the house of his best friend's girl. What's Who? (1920), while being very funny, was also a precursor to the famous Abbott and Costello "Who's on First?" routine. The History of Pea Eating (1920) was a satirical disquisition on the various attempts mankind has made over the centuries to eat peas successfully. His final piece, Fedora (1921), was his shortest and most enigmatic contribution. It also gave a strikingly accurate description of his future wife, Alma (whom he had not yet met).^[25]

During this period, Hitchcock became intrigued by photography and started working in film production in London, working as a title-card designer for the London branch of what would become Paramount Pictures.^[26] In 1920, he received a full-time position at Islington Studios with its American owner, Famous Players-Lasky, and their British successor, Gainsborough Pictures,^[27] designing the titles for silent movies.^[28] His rise from title designer to film director took five years.

Inter-war British career[link]

Hitchcock's last collaboration with Graham Cutts led him to Germany in 1924. The film Die Prinzessin und der Geiger (UK title The Blackguard, 1925), directed by Cutts and co-written by Hitchcock, was produced in the Babelsberg Studios in Potsdam near Berlin. Hitchcock also observed part of the making of F. W. Murnau's film Der letzte Mann (1924).^[29] He was very impressed with Murnau's work and later used many techniques for the set design in his own productions. In his book-length interview with François Truffaut, Hitchcock/Truffaut (Simon and Schuster, 1967), Hitchcock also said he was influenced by Fritz Lang's film Destiny (1921).

Hitchcock's first few films faced a string of bad luck. His first directing project came in 1922 with the aptly titled Number 13.^[30] The production was cancelled due to financial problems^[30] and the few scenes that were finished at that point were apparently lost. In 1925, Michael Balcon^[31] of Gainsborough Pictures gave Hitchcock another opportunity for a directing credit with The Pleasure Garden made at UFA Studios^[32] in Germany; the film was a commercial flop.^[33] Next, Hitchcock directed a drama called The Mountain Eagle (possibly released under the title Fear o' God in the United States). This film was also eventually lost.^[34] In 1926, Hitchcock's luck changed with his first thriller, The Lodger: A Story of the London Fog. The film, released in January 1927, was a major commercial and critical success in the United Kingdom.^[35] As with many of his earlier works, this film was influenced by Expressionist techniques Hitchcock had witnessed first-hand in Germany.^[36] Some commentators regard this piece as the first truly "Hitchcockian"^[37][38] film, incorporating such themes as the "wrong man".^[39]

Following the success of The Lodger, Hitchcock hired a publicist to help enhance his growing reputation. On 2 December 1926, Hitchcock married his assistant director, Alma Reville, at the Brompton Oratory in South Kensington. Their only child, daughter Patricia, was born on 7 July 1928. Alma was to become Hitchcock's closest collaborator, but her contributions to his films (some of which were credited on screen) Hitchcock would discuss only in private, as she was keen to avoid public attention.^[40]

In 1929, Hitchcock began work on his tenth film Blackmail. While the film was still in production, the studio, British International Pictures (BIP), decided to convert it to sound. As an early 'talkie', the film is frequently cited by film historians as a landmark film,^[41] and is often considered to be the first British sound feature film.^[42][43] With the climax of the film taking place on the dome of the British Museum, Blackmail began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences. It also features one of his longest cameo appearances, which shows him being bothered by a small boy as he reads a book on the London Underground.^[44] In the PBS series The Men Who Made The Movies,^[45] Hitchcock explained how he used early sound recording as a special element of the film, emphasising the word "knife" in a conversation with the woman suspected of murder.^[46] During this period, Hitchcock directed segments for a BIP musical film revue Elstree Calling (1930) and directed a short film featuring two Film Weekly scholarship winners, An Elastic Affair (1930). Another BIP musical revue, Harmony Heaven (1929), reportedly had minor input from Hitchcock, but his name does not appear in the credits.

In 1933, Hitchcock was once again working for Michael Balcon^[31] at Gaumont-British Picture Corporation.^[47] His first film for the company, The Man Who Knew Too Much (1934), was a success and his second, The 39 Steps (1935), is often considered one of the best films from his early period.^[48] This film was also one of the first to introduce the concept of the "MacGuffin", a plot device around which a whole story seems to revolve, but ultimately has nothing to do with the true meaning or ending of the story. In The 39 Steps, the MacGuffin is a stolen set of design plans. Hitchcock told French director François Truffaut:

There are two men sitting in a train going to Scotland and one man says to the other, "Excuse me, sir, but what is that strange parcel you have on the luggage rack above you?", "Oh", says the other, "that's a Macguffin.", "Well", says the first man, "what's a Macguffin?", The other answers, "It's an apparatus for trapping lions in the Scottish Highlands.", "But", says the first man, "there are no lions in the Scottish Highlands.", "Well", says the other, "then that's no Macguffin."^[49]

Hitchcock's next major success was his 1938 film The Lady Vanishes, a fast-paced film about the search for a kindly old Englishwoman Miss Froy (Dame May Whitty), who disappears while on board a train in the fictional country of Bandrika.^[50]

By 1938, Hitchcock had become known for his alleged observation, "Actors are cattle". He once said that he first made this remark as early as the late 1920s, in connection to stage actors who were snobbish about motion pictures. However, Michael Redgrave said that Hitchcock had made the statement during the filming of The Lady Vanishes. The phrase would haunt Hitchcock for years to come and would result in an incident during the filming of his 1941 production of Mr. & Mrs. Smith, where Carole Lombard brought some heifers onto the set with name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise the director. Hitchcock said he was misquoted: "I said 'Actors should be treated like cattle'."^[51]

At the end of the 1930s, David O. Selznick signed Hitchcock to a seven-year contract beginning in March 1939, when the Hitchcocks moved to the United States.

Hollywood[link]

In Hollywood, the suspense and the gallows humour that had become Hitchcock's trademark in film continued to appear in his productions. The working arrangements with Selznick were less than optimal. Selznick suffered from perennial money problems, and Hitchcock was often displeased with Selznick's creative control over his films. In a later interview, Hitchcock summarised the working relationship thus:

[Selznick] was the Big Producer. [...] Producer was king, The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the "only director" he'd "trust with a film".^[52]

Selznick loaned Hitchcock to the larger studios more often than producing Hitchcock's films himself. In addition, Selznick, as well as fellow independent producer Samuel Goldwyn, made only a few films each year, so he did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. Hitchcock was quickly impressed with the superior resources of the American studios compared to the financial restrictions he had frequently encountered in England.^{[citation needed]}

Hitchcock's fondness for his homeland resulted in numerous American films set in, or filmed in, the United Kingdom,^[53] including his penultimate film, Frenzy.

With the prestigious Selznick picture Rebecca in 1940, Hitchcock made his first American movie, set in England and based on a novel by English author Daphne du Maurier. The film starred Laurence Olivier and Joan Fontaine. This Gothic melodrama explores the fears of a naïve young bride who enters a great English country home and must adapt to the extreme formality and coldness she finds there. The film won the Academy Award for Best Picture of 1940.^[54] The statuette was given to Selznick, as the film's producer.^[54] The film did not win the Best Director award for Hitchcock.

There were additional problems between Selznick and Hitchcock. Selznick was known to impose very restrictive rules upon Hitchcock, forcing him to shoot the film as Selznick wanted.^{[citation needed]} At the same time, Selznick complained about Hitchcock's "goddamn jigsaw cutting", which meant that the producer did not have nearly the leeway to create his own film as he liked, but had to follow Hitchcock's vision of the finished product.^[55] Rebecca was the fourth longest of Hitchcock's films, at 130 minutes, exceeded only by The Paradine Case (132 minutes), North by Northwest (136 minutes), and Topaz (142 minutes).^[56]

Hitchcock's second American film, the European-set thriller Foreign Correspondent (1940), based on Vincent Sheean's Personal History and produced by Walter Wanger, was nominated for Best Picture that year. Hitchcock and many other English nationals felt uneasy living and working in Hollywood while their home country was at war, so his concern resulted in the making of the film that supported the British war effort.^[57] The movie was filmed in the first year of World War II and was inspired by the rapidly changing events in Europe, as fictionally covered by an American newspaper reporter portrayed by Joel McCrea. The film mixed actual footage of European scenes and scenes filmed on a Hollywood back lot. In compliance with Hollywood's Production Code censorship, the film avoided direct references to Germany and Germans.^[58]

1940s films[link]

Cary Grant and Ingrid Bergman in Notorious (1946)

Hitchcock's films during the 1940s were diverse, ranging from the romantic comedy Mr. & Mrs. Smith (1941) to the courtroom drama The Paradine Case (1947) to the dark and disturbing film noir Shadow of a Doubt (1943).

In September 1940, the Hitchcocks purchased the 200-acre (0.81 km²) Cornwall Ranch, located near Scotts Valley in the Santa Cruz Mountains. The ranch became the primary residence of the Hitchcocks for the rest of their lives, although they kept their Bel Air home. Suspicion (1941) marked Hitchcock's first film as a producer as well as director. Hitchcock used the north coast of Santa Cruz, California, for the English coastline sequence.^[26] This film was to be actor Cary Grant's first time working with Hitchcock, and it was one of the few times that Grant would be cast in a sinister role.^[26] Joan Fontaine^[59] won Best Actress Oscar^[26] and the New York Film Critics Circle Award^[60] for her "outstanding performance in Suspicion". "Grant plays an irresponsible husband whose actions raise suspicion and anxiety in his wife (Fontaine)".^{[citation needed]} In what critics regard as a classic scene^{[citation needed]}, Hitchcock uses a light bulb to illuminate what might be a fatal glass of milk that Grant is bringing to his wife. In the book the movie is based on (Before the Fact by Francis Iles), the Grant character is a killer, but Hitchcock and the studio felt Grant's image would be tarnished by that ending. Though a homicide would have suited him better, as he stated to François Truffaut, Hitchcock settled for an ambiguous finale.^[61]

Saboteur (1942) was the first of two films that Hitchcock made for Universal, a studio where he would continue his career during his later years. Hitchcock was forced^{[citation needed]} to use Universal contract players Robert Cummings and Priscilla Lane, both known for their work in comedies and light dramas. Breaking with Hollywood conventions of the time, Hitchcock did extensive location filming, especially in New York City, and depicted a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty. That year he also directed Have You Heard?, a photographic dramatisation of the dangers of rumours during wartime, for Life magazine.^[62]

Shadow of a Doubt (1943), Hitchcock's personal favourite of all his films and the second of the early Universal films,^[63] was about young Charlotte "Charlie" Newton (Teresa Wright), who suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial murderer. Critics have said that in its use of overlapping characters, dialogue, and closeups it has provided a generation of film theorists with psychoanalytic potential^{[citation needed]}, including Jacques Lacan and Slavoj Žižek. Hitchcock again filmed extensively on location, this time in the Northern California city of Santa Rosa, California, during the summer of 1942. The director showcased his own personal fascination with crime and criminals when he had two of his characters discuss various ways of killing people, to the obvious annoyance of Charlotte.

Working at 20th Century Fox, Hitchcock adapted a script of John Steinbeck's that chronicled the experiences of the survivors of a German U-boat attack in the film Lifeboat (1944). The action sequences were shot in a small boat in the studio water tank. The locale also posed problems for Hitchcock's traditional cameo appearance. That was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer".^[64]

While at Fox, Hitchcock seriously considered directing the film version of A.J. Cronin's novel about a Catholic priest in China^{[citation needed]}, The Keys of the Kingdom, but the plans for this fell through. John M. Stahl ended up directing the 1944 film, which was produced by Joseph L. Mankiewicz and starred Gregory Peck, among other luminaries.^[65]

Returning to England for an extended visit in late 1943 and early 1944, Hitchcock made two short films for the Ministry of Information, Bon Voyage and Aventure Malgache. Made for the Free French, these were the only films Hitchcock made in the French language, and "feature typical Hitchcockian touches".^[66] In the 1990s, the two films were shown by Turner Classic Movies and released on home video.

In 1945, Hitchcock served as "treatment advisor" (in effect, a film editor) for a Holocaust documentary produced by the British Army. The film, which recorded the liberation of Nazi concentration camps, remained unreleased until 1985, when it was completed by PBS Frontline and distributed under the title Memory of the Camps.^[67][68]

Hitchcock worked for Selznick again when he directed Spellbound (1945), which explored psychoanalysis^[69] and featured a dream sequence designed by Salvador Dalí. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past.^[70] The dream sequence as it actually appears in the film is considerably shorter than was originally envisioned, which was to be several minutes long,^{[citation needed]} because it proved to be too disturbing for the audience. Two point-of-view shots were achieved by constructing a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on (some copies of) the black-and-white film. Some of the original musical score by Miklós Rózsa (which makes use of the theremin) was later adapted by the composer into a concert piano concerto.

Grant and Bergman in Notorious (1946)

Notorious (1946) followed Spellbound. According to Hitchcock, in his book-length interview with François Truffaut, Selznick sold the director, the two stars (Grant and Bergman) and the screenplay (by Ben Hecht) to RKO Radio Pictures as a "package" for $500,000 due to cost overruns on Selznick's Duel in the Sun (1946). Notorious starred Hitchcock regulars Ingrid Bergman and Cary Grant, and features a plot about Nazis, uranium, and South America. It was a huge box office success and has remained one of Hitchcock's most acclaimed films^{[citation needed]}. His use of uranium as a plot device led to Hitchcock's being briefly under FBI surveillance. McGilligan writes that Hitchcock consulted Dr. Robert Millikan of Caltech about the development of an atomic bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news stories of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945.^[71]

After completing his final film for Selznick, The Paradine Case (a courtroom drama that critics found lost momentum because it apparently ran too long and exhausted its resource of ideas), Hitchcock filmed his first colour film, Rope (1948). Here Hitchcock experimented with marshaling suspense in a confined environment, as he had done earlier with Lifeboat (1943). Appeaering to have been shot entirely in a single take, Rope (1948) was actually shot in 10 takes ranging from four and a half to 10 minutes each; a 10-minute length of film being the maximum a camera's film magazine could hold. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. Featuring James Stewart in the leading role, Rope was the first of four films Stewart would make with Hitchcock. It was based on the Leopold and Loeb case of the 1920s. Somehow Hitchcock's cameraman managed to move the bulky, heavy Technicolor camera quickly around the set as it followed the continuous action of the long takes.

Under Capricorn (1949), set in nineteenth-century Australia, also used the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white films for several years. For Rope and Under Capricorn, Hitchcock formed a production company with Sidney Bernstein called Transatlantic Pictures, which became inactive after these two unsuccessful pictures. Hitchcock continued to produce his own films for the rest of his life.

1950s: Peak years[link]

James Stewart and Grace Kelly in Rear Window (1954)

Hitchcock filmed Stage Fright (1950) in the UK. For the first time, he matched one of Warner Bros.'^[72] biggest stars, Jane Wyman, with the sultry German actress Marlene Dietrich. Hitchcock used a number of prominent British actors, including Michael Wilding, Richard Todd, and Alastair Sim. This was Hitchcock's first production for Warner Bros., which had distributed Rope and Under Capricorn, because Transatlantic Pictures was experiencing financial difficulties.^[73]

With the film Strangers on a Train (1951), based on the novel by Patricia Highsmith, Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue but Raymond Chandler took over, then left over disagreements with the director.^[74] Two men casually meet, one of whom speculates on a foolproof murder technique. He suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger's role was as the innocent victim of the scheme, while Robert Walker, previously known for "boy-next-door" roles, played the villain.^[75]

MCA head Lew Wasserman, whose client list included James Stewart, Janet Leigh and other actors who would appear in Hitchcock's films, had a significant impact in packaging and marketing Hitchcock's films beginning in the 1950s.

After I Confess (1953) with Montgomery Clift, three popular films starring Grace Kelly followed. Dial M for Murder (1954) was adapted from the stage play by Frederick Knott. Ray Milland plays the scheming villain, an ex-tennis pro who tries to murder his unfaithful wife Grace Kelly for her money. When she kills the hired assassin in self-defense, Milland manipulates the evidence to pin the death on his wife. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams), work urgently to save her from execution.^[76] Hitchcock experimented with 3D cinematography. The depth effect was utilised in a major way only in one key scene. The public was growing weary of 3D by the time of the film's release, however, and it was shown in 3D only in a few first-run engagements. The 3D version has been revived from time to time, including a brief reissue in some major US cities in the 1980s. The film marked a return to color productions for Hitchcock.

Hitchcock then moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Kelly again, as well as Thelma Ritter and Raymond Burr. Stewart's character, a photographer based on Robert Capa, must temporarily use a wheelchair; out of boredom he begins observing his neighbours across the courtyard, and becomes convinced one of them (Raymond Burr) has murdered his wife. Stewart tries to sway both his glamorous model-girlfriend (Kelly), which screenwriter John Michael Hayes based on his own wife, and his policeman buddy (Wendell Corey) to his theory, and eventually succeeds.^[77] As with Lifeboat and Rope, the principal characters were almost entirely confined to a small space, in this case Stewart's tiny studio apartment overlooking a massive courtyard. Hitchcock used closeups of Stewart's face to show his character's reactions to all he sees, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment".^[77]

The third Kelly film, To Catch a Thief (1955), set in the French Riviera, paired her with Cary Grant. He plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. An American heiress played by Kelly surmises his true identity, attempts to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double-entendres) and the good-natured acting proved a commercial success."^[78] It was Hitchcock's last film with Kelly. She married Prince Rainier of Monaco in 1956, and the residents of her new land were against her making any more films.

Hitchcock successfully remade his own 1934 film The Man Who Knew Too Much in 1956, this time starring Stewart and Doris Day, who sang the theme song, "Que Sera, Sera (Whatever Will Be, Will Be)", which won the Oscar for Best Original Song and became a big hit for her. They play a couple whose son is kidnapped to prevent them from interfering with an assassination.

James Stewart and Kim Novak in Vertigo (1958)

The Wrong Man (1957), Hitchcock's final film for Warner Brothers, was a low-key black-and-white production based on a real-life case of mistaken identity reported in Life Magazine in 1953. This was the only film of Hitchcock's to star Henry Fonda. Fonda plays a Stork Club musician mistaken for a liquor store thief who is arrested and tried for robbery while his wife (newcomer Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.^[79]

Vertigo (1958) again starred Stewart, this time with Kim Novak and Barbara Bel Geddes. Stewart plays "Scottie", a former police investigator suffering from acrophobia, who develops an obsession with a woman he is shadowing (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. The film contains a camera technique developed by Irmin Roberts that has been copied many times by filmmakers, wherein the image appears to "stretch". This is achieved by moving the camera in the opposite direction of the camera's zoom. It has become known by many nicknames, including Dolly zoom, "Zolly," "Hitchcock Zoom," and "Vertigo Effect."

Although the film is widely considered a classic today, Vertigo met with negative reviews and poor box office receipts upon its release, and was the last collaboration between Stewart and Hitchcock.^[80] The film is ranked second (behind Citizen Kane) in the 2002 Sight & Sound decade poll. It was premiered in the San Sebastián International Film Festival,^[81] where Hitchcock won a Silver Seashell.

Cary Grant in North by Northwest (1959)

By this time, Hitchcock had filmed in many areas of the United States.^[82] He followed Vertigo with three more successful films. Two are also recognised as among his best movies: North by Northwest (1959) and Psycho (1960). The third film was The Birds (1963).

In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent.^[83] He is hotly pursued by enemy agents across America, apparently one of them being Eve Kendall (Eva Marie Saint), in fact working undercover.

From 1960[link]

Psycho is almost certainly Hitchcock's best-known film.^[84] Produced on a highly constrained budget of $800,000, it was shot in black-and-white on a spare set.^[85] The unprecedented violence of the shower scene, the early demise of the heroine, the innocent lives extinguished by a disturbed murderer were all hallmarks of Hitchcock, copied in many subsequent horror films.^[86] After completing Psycho, Hitchcock moved to Universal, where he made the remainder of his films.

The Birds, inspired by a Daphne Du Maurier short story and by an actual news story about a mysterious infestation of birds in California, was Hitchcock's 49th film.^[87] He signed up Tippi Hedren as his latest blonde heroine opposite Rod Taylor. The scenes of the birds attacking included hundreds of shots mixing actual and animated sequences. The cause of the birds' attack is left unanswered, "perhaps highlighting the mystery of forces unknown".^[88]

The latter two films had unconventional soundtracks, both orchestrated by Bernard Herrmann: the screeching strings played in the murder scene in Psycho were unusually dissonant, and The Birds dispensed completely with conventional instruments, instead using an electronically produced soundtrack and an unaccompanied song by schoolchildren (just prior to the attack at the Bodega Bay School). These films are considered his last great films, after which critical opinion was usually against his new films, although some critics, such as Robin Wood and Donald Spoto, contend that Marnie (1964) is first-class Hitchcock, and some have argued that Frenzy is unfairly overlooked.

Failing health took its toll on Hitchcock, reducing his output during the last two decades of his career. He filmed two spy thrillers set with Cold War-related themes. The first, Torn Curtain (1966), with Paul Newman and Julie Andrews, displays the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann. Herrmann was fired when Hitchcock was unsatisfied with his score. Topaz (1969), (based on a Leon Uris novel), is partly set in Cuba. Both received mixed reviews from critics.

Hitchcock at work on location in San Francisco for Family Plot

In 1972, Hitchcock returned to London to film Frenzy. After two only moderately successful espionage films, the plot marks a return to the murder thriller genre of earlier in his career. The basic story recycles his early film The Lodger. Richard Blaney (Jon Finch), a volatile barkeeper with a history of explosive anger, becomes the prime suspect for the "Necktie Murders," which are actually committed by his friend Bob Rusk (Barry Foster).^[89] This time, Hitchcock makes the victim and villain twins, rather than opposites, as in Strangers on a Train. Only one of them, however, has crossed the line to murder.^[89] For the first time, Hitchcock allowed nudity and profane language, which had before been taboo, in one of his films. He also shows rare sympathy for the chief inspector and his comic domestic life.^[90] Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused as well as alarmed by Hitchcock's "inescapable inferences".^[91] Beginning with Torn Curtain, Hitchcock was finally able to blatantly include plot elements previously forbidden in American films and this continued for the remainder of his film career.

Family Plot (1976) was Hitchcock's last film. It related the escapades of "Madam" Blanche Tyler played by Barbara Harris, a fraudulent spiritualist, and her taxi driver lover Bruce Dern making a living from her phoney powers. William Devane, Karen Black and Cathleen Nesbitt co-starred. It was the only Hitchcock film scored by John Williams.

Last project and death[link]

Near the end of his life, Hitchcock had worked on the script for a projected spy thriller, The Short Night, collaborating with screenwriters James Costigan and Ernest Lehman. Despite some preliminary work, the story was never filmed. This was due primarily to Hitchcock's own failing health and his concerns over the health of his wife, Alma, who had suffered a stroke. The script was eventually published posthumously, in a book on Hitchcock's last years.^[92][93]

Hitchcock died in his Bel Air home of renal failure at 9:17 am on 29 April 1980. He was survived by his wife and their daughter. Hitchcock's funeral service was held at Good Shepherd Catholic Church^[94] in Beverly Hills, after which his body was cremated and his remains were scattered over the Pacific Ocean.^[95]

Themes, plot devices and motifs[link]

Hitchcock returned several times to cinematic devices such as suspense, the audience as voyeur, and his well-known "MacGuffin," an apparently minor detail serving as a pivot upon which the narrative turns.

Signature appearances in his films[link]

Hitchcock appeared briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), or walking dogs out of a pet shop (The Birds).

Psychology of characters[link]

Hitchcock's films sometimes feature characters struggling in their relationships with their mothers. In North by Northwest (1959), Roger Thornhill (Cary Grant's character) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds (1963), the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself of a clinging mother (Jessica Tandy). The killer in Frenzy (1972) has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflictual relationship with his mother, who is (correctly) suspicious of his new bride Alicia Huberman (Ingrid Bergman). Norman Bates has troubles with his mother in Psycho.

Hitchcock heroines tend to be lovely, cool blondes who seem proper at first but, when aroused by passion or danger, respond in a more sensual, animal, or even criminal way. The famous victims in The Lodger are all blondes. In The 39 Steps, Hitchcock's glamorous blonde star, Madeleine Carroll, is put in handcuffs. In Marnie (1964), the title character (played by Tippi Hedren) is a thief. In To Catch a Thief (1955), Francie (Grace Kelly) offers to help a man she believes is a burglar. In Rear Window, Lisa (Grace Kelly again) risks her life by breaking into Lars Thorwald's apartment. The best-known example is in Psycho where Janet Leigh's unfortunate character steals $40,000 and is murdered by a reclusive psychopath. Hitchcock's last blonde heroine was—years after Dany Robin and her "daughter" Claude Jade in Topaz—Barbara Harris as a phony psychic turned amateur sleuth in his final film, 1976's Family Plot. In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig in various scenes and becomes increasingly uncomfortable about her line of work.

Some critics and Hitchcock scholars, including Donald Spoto and Roger Ebert, agree that Vertigo represents the director's most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the woman he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other film in his filmography.^{[citation needed]}

Hitchcock often said that his favourite film (of his own work) was Shadow of a Doubt.^[96]

Style of working[link]

Writing[link]

Hitchcock once commented, "The writer and I plan out the entire script down to the smallest detail, and when we're finished all that's left to do is to shoot the film. Actually, it's only when one enters the studio that one enters the area of compromise. Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest." In an interview with Roger Ebert in 1969, Hitchcock elaborated further:

Once the screenplay is finished, I'd just as soon not make the film at all... I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 percent of your original conception.^[97]

In Writing with Hitchcock, a book-length study of Hitchcock's working method with his writers, author Steven DeRosa noted that "Although he rarely did any actual 'writing', especially on his Hollywood productions, Hitchcock supervised and guided his writers through every draft, insisting on a strict attention to detail and a preference for telling the story through visual rather than verbal means. While this exasperated some writers, others admitted the director inspired them to do their very best work. Hitchcock often emphasised that he took no screen credit for the writing of his films. However, over time the work of many of his writers has been attributed solely to Hitchcock’s creative genius, a misconception he rarely went out of his way to correct. Notwithstanding his technical brilliance as a director, Hitchcock relied on his writers a great deal."^[98]

Storyboards and production[link]

Hitchcock's films were strongly believed to have been extensively storyboarded to the finest detail by the majority of commentators over the years. He was reported to have never even bothered looking through the viewfinder, since he did not need to do so, though in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternate takes to consider.

However, this view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by the book Hitchcock At Work, written by Bill Krohn, the American correspondent of Cahiers du cinéma. Krohn, after investigating several script revisions, notes to other production personnel written by or to Hitchcock alongside inspection of storyboards, and other production material, has observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his movies was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. A great example would be the celebrated crop-spraying sequence of North by Northwest which was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film and Hitchcock in turn hired an artist to match the scenes in detail.

Even when storyboards were made, scenes that were shot differed from it significantly. Krohn's extensive analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his movies, he was fully cognizant that the actual film-making process often deviated from the best-laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines utilised during many other film productions.

Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternate takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how he/she chooses (often under the producer's aegis). Rather they represented Hitchcock's tendency of giving himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock.

His fastidiousness and attention to detail also found its way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—and kept them busy with countless rounds of revision until he felt that the single image of the poster accurately represented his entire film.

Approach to actors[link]

Similarly, much of Hitchcock's supposed dislike of actors has been exaggerated. Hitchcock simply did not tolerate the method approach, as he believed that actors should only concentrate on their performances and leave work on script and character to the directors and screenwriters. In a Sight and Sound interview, he stated that, 'the method actor is OK in the theatre because he has a free space to move about. But when it comes to cutting the face and what he sees and so forth, there must be some discipline'.^[99] During the making of Lifeboat, Walter Slezak, who played the German character, stated that Hitchcock knew the mechanics of acting better than anyone he knew. Several critics have observed that despite his reputation as a man who disliked actors, several actors who worked with him gave fine, often brilliant performances and these performances contribute to the film's success.

For Hitchcock, the actors, like the props, were part of the film's setting, as he said to Truffaut:

In my opinion, the chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be utilised and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights.^[100]

Regarding Hitchcock's sometimes less than pleasant relationship with actors, there was a persistent rumour that he had said that actors were cattle. Hitchcock addressed this story in his interview with François Truffaut:

I'm not quite sure in what context I might have made such a statement. It may have been made...when we used actors who were simultaneously performing in stage plays. When they had a matinee, and I suspected they were allowing themselves plenty of time for a very leisurely lunch. And this meant that we had to shoot our scenes at breakneck speed so that the actors could get out on time. I couldn't help feeling that if they'd been really conscientious, they'd have swallowed their sandwich in the cab, on the way to the theatre, and get there in time to put on their make-up and go on stage. I had no use for that kind of actor.^[101]

Carole Lombard, tweaking Hitchcock and drumming up a little publicity, brought some cows along with her when she reported to the set of Mr. and Mrs. Smith.^[101]

In the late 1950s, French New Wave critics, especially Éric Rohmer, Claude Chabrol and François Truffaut, were among the first to see and promote Hitchcock's films as artistic works. Hitchcock was one of the first directors to whom they applied their auteur theory, which stresses the artistic authority of the director in the film-making process.

Hitchcock's innovations and vision have influenced a great number of filmmakers, producers, and actors. His influence helped start a trend for film directors to control artistic aspects of their movies without answering to the movie's producer.

The ugly side of Hitchcock - Sexual harrassment and abuse of leading ladies[link]

“The trouble today is that we don’t torture women enough.” —Alfred Hitchcock

Hitchcock engaged in obsessive sexually abusive behaviour towards many of his female leads. He used his position as director to seek to dominate and control his leading ladies. In the case of Tippi Hedren this extended to sexual harrassment. Hitchcock often used filming conditions to physically abuse actresses.

He insisted, for example, that Madeleine Carroll submit herself to painful physical demands during the making of The 39 Steps.

Awards and honours[link]

Hitchcock was a multiple nominee and winner of a number of prestigious awards, receiving two Golden Globes, eight Laurel Awards and five lifetime achievement awards, as well as being six times nominated for, albeit never winning, an Academy Award as Best Director. His film Rebecca (nominated for 11 Oscars) won the Academy Award for Best Picture of 1940—particularly notable considering the fact that another Hitchcock film, Foreign Correspondent, was also nominated that same year.

Television, radio, and books[link]

Along with Walt Disney, Hitchcock was among the first prominent motion picture producers to fully envisage just how popular the medium of television would become. From 1955 to 1965, Hitchcock was the host and producer of a television series titled Alfred Hitchcock Presents.^[102] While his films had made Hitchcock's name strongly associated with suspense, the TV series made Hitchcock a celebrity himself. His irony-tinged voice and signature droll delivery, gallows humour, iconic image and mannerisms became instantly recognisable and were often the subject of parody.

The title-theme of the show pictured a minimalist caricature of Hitchcock's profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled. His introductions before the stories in his program always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are now shown with a sign "Two chairs—no waiting!" He directed a few episodes of the TV series himself, and he upset a number of movie production companies when he insisted on using his TV production crew to produce his motion picture Psycho. In the late 1980s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form.

The series used a curious little tune^[103] by the French composer Charles Gounod (1818–1893),^[104] the composer of the 1859 opera Faust, as the theme for his television programs, after it was suggested to him by composer Bernard Herrmann. Arthur Fiedler and the Boston Pops Orchestra included the piece, Funeral March of a Marionette, on one of their extended play 45-rpm discs for RCA Victor during the 1950s.

Alfred Hitchcock Presents was parodied by Friz Freleng's 1961 cartoon The Last Hungry Cat, which contains a plot similar to Blackmail.

Hitchcock appears as a character in the popular juvenile detective book series, Alfred Hitchcock and the Three Investigators. The long-running detective series was created by Robert Arthur, who wrote the first several books, although other authors took over after he left the series. The Three Investigators—Jupiter Jones, Bob Andrews and Peter Crenshaw—were amateur detectives, slightly younger than the Hardy Boys. In the introduction to each book, "Alfred Hitchcock" introduces the mystery, and he sometimes refers a case to the boys to solve. At the end of each book, the boys report to Hitchcock, and sometimes give him a memento of their case.

When the real Hitchcock died, the fictional Hitchcock in the Three Investigators books was replaced by a retired detective named Hector Sebastian. At this time, the series title was changed from Alfred Hitchcock and the Three Investigators to The Three Investigators.

At the height of Hitchcock's success, he was also asked to introduce a set of books with his name attached. The series was a collection of short stories by popular short-story writers, primarily focused on suspense and thrillers. These titles included Alfred Hitchcock's Anthology, Alfred Hitchcock Presents: Stories to be Read with the Door Locked, Alfred Hitchcock's Monster Museum, Alfred Hitchcock's Supernatural Tales of Terror and Suspense, Alfred Hitchcock's Spellbinders in Suspense, Alfred Hitchcock's Witch's Brew, Alfred Hitchcock's Ghostly Gallery, Alfred Hitchcock's A Hangman's Dozen and Alfred Hitchcock's Haunted Houseful. Hitchcock himself was not actually involved in the reading, reviewing, editing or selection of the short stories; in fact, even his introductions were ghost-written. The entire extent of his involvement with the project was to lend his name and collect a check.

Some notable writers whose works were used in the collection include Shirley Jackson (Strangers in Town, The Lottery), T.H. White (The Once and Future King), Robert Bloch, H. G. Wells (The War of the Worlds), Robert Louis Stevenson, Sir Arthur Conan Doyle, Mark Twain and the creator of The Three Investigators, Robert Arthur.

Hitchcock also wrote a mystery story for Look magazine in 1943, "The Murder of Monty Woolley". This was a sequence of captioned photographs inviting the reader to inspect the pictures for clues to the murderer's identity; Hitchcock cast the performers as themselves, such as Woolley, Doris Merrick and make-up man Guy Pearce, whom Hitchcock identified, in the last photo, as the murderer. The article was reprinted in Games Magazine in November/December 1980.

In September 2010, BBC Radio 7 broadcast a series of five fifteen-minute programs entitled The Late Alfred Hitchcock Presents with Michael Roberts impersonating Alfred Hitchcock for introductory/concluding comments and reading the stories in his own voice. These five stories were originally intended for the television series, but were rejected because of their rather gruesome nature:

• "The Waxwork" by A. M. Burrage (broadcast 13 September 2010)
• "Sredni Vashtar" by Saki (broadcast 14 September 2010)
• "The Perfectionist" by Margaret St. Clair (broadcast 15 September 2010)
• "Being a Murderer Myself" by Arthur Williams (broadcast 16 September 2010)
• "The Dancing Partner" by Jerome K. Jerome (broadcast 17 September 2010)

Filmography[link]